Culture and Arts in the Modern World

Theoretical Dimension of Modern Designers’ Conceptual Forms of Creativity

Oksana Lahoda — 2024-10-04

The aim of the article is to identify key characteristics of artistic and design practices interaction; to define directions of conceptual design development based on the results of analysing scientific and theoretical foundations of conceptualism as a special form of the artists’ creativity in the 20th century. Results. It is demonstrated that the focus of modern designers on conceptual forms of creativity is explained by the fact that they contribute to forming unique authors’ projects of aesthetic and value content, innovative searches in the context of cultural and civilisational shifts. A conceptual costume of the beginning of the 21st century is a kind of mediator between art practices of conceptual art and design practices in the sphere of project culture, synthesising social and psychological aspects of fashion, social and symbolic functions of clothing. A conceptual design narrativises philosophical, artistic and technological aspects of design, enriching design products with an expressive metaphoricity. It is revealed that in modern art history a clear definition of the term system of the conceptual direction in design has not been formed till now. The research of this complex phenomenon, synthesised by fashion and artistic clothing design, requires a complex interdisciplinary approach. The conceptual costume is studied as an art-design object from the standpoint of global and local tendencies in the society development, which declare certain worldview values in the form of a visual metaphor. Scientific novelty. For the first time, the theoretical understanding of the conceptual costume grounds on the interaction of design with culture and art as a special space of its direct functioning, which makes it possible to form project conceptualism as a special methodology. Conclusions. The authors’ concepts in the costume are extrapolated in different ways: as visual quotations or metaphors; as a transformation of the art object idea into the form of the costume. Actually, they need in-depth and detailed studying.

Transformation of Methods of Art Objects Using in Interior Design

Oksana Pylypchuk — 2024-10-04

The aim of the article is to identify and systematise the methods of using art objects in interior design, to analyse their transformation (from traditional to modern methods) with a focus on various aspects of the relationship between the spatial environment and fine art objects. Results. The research has shown that the transformation of the methods of using art objects (from traditional to modern innovative ones) provides endless opportunities for new methods and technologies of interior design with the use of art objects, which creates a harmonious object-spatial environment taking into account modern design trends. The analysis of art objects and the object-spatial environment revealed their interconnection in the following aspects: functional purpose, location conditions, types of fine art, spatial perception, reflection of the interior theme, integration with technology, and compliance with the principles and goals of sustainable development. The scientific novelty lies in the study, systematisation and analysis of the transformation of methods (from traditional to modern) of using art objects in interior design. Conclusions. The use of art objects in the interior is a complex multifunctional process that reflects a modern approach to the use of art works in the object-spatial environment to achieve a high artistic level in interior design. It has been found that art objects in the interior perform various functions, have certain visual forms of embodiment and create a harmonious aesthetic and meaningful space for living and working. In view of the development of the scientific and technological revolution, we see the prospects for further research in the analysis, systematisation and identification of modern methods transformation, including the identification of new aspects of the relationship between art objects and the subject-spatial environment based on the transformation of methods of using art works.

The Concept of the Restoration Project of the Hryhorii Skovoroda Museum in the Context of Preserving Ukrainian Cultural Heritage Objects

Viktor Severyn — 2024-10-04

The aim of the article is to present the concept of the project decision regarding the restoration of the Hryhorii Skovoroda Museum taking into account the preservation of objects of Ukrainian cultural heritage. Results. The foreign and domestic experience of preserving cultural heritage in the context of the world culture, which forms the basis of the elaborated project, is analysed. The development strategy and the main reconstruction goals of the Hryhorii Skovoroda Museum are determined. In the architectural and planning decision, it is aimed to use such compositional techniques as symmetry and geometry. It is mentioned that the forming elements of design are created on the basis of images associated with the life of H. S. Skovoroda or heroes of his creative works. Measures for restorating garden and park ensemble and the restoration project of H. S. Skovoroda’s museum as an object of cultural heritage of national significance are offered. Scientific novelty. The concept of the mentioned project offers directions for restorating the Hryhorii Skovoroda Museum that meet modern requirements for creating museum exhibits with mandatory consideration of universal design (inclusive design), aimed at meeting such requirements as accessibility, safety, informativeness, convenience, environment comfort for all people, particularly with various health disabilities (physical, psychological, etc.), and of different age category. Conclusions. The museum’s development strategy involves spreading knowledge about Hryhorii Skovoroda, attracting a wide range of the museum visitors, ensuring the full functioning of the museum as a scientific, cultural and educational institution, its further development as a centre of cultural and artistic life. Involvement of architectors and environment designers can allow to create a project offer for the new building and museum interiors, taking into account the preserved exhibition objects. Functionality and ergonomics of this museum areas are planned in such a way that people with disabilities can have an opportunity to visit the exhibition without any obstacles. An important element in the development of interior design is lighting and usage of elements with the modern technologies. Therefore, the creation of a museum exposition is a complex task, which can be realised due to the synthesis of the designer’s creative ideas, the system of images, objects, events, phenomena and innovative interactive technologies, which create a complete picture, such as an exhibition image.

Porte-chaises and Gazebos in the Traditions of European Horse-Drawn Transport of the Baroque Era

Olha Shkolna — 2024-10-04

The aim of the article is to determine the constructive, compositional and artistic features of porte-chaises and gazebos in the European proto-design of the Baroque era. Results. It has been found that among the horse-drawn transport of the Baroque period in European proto-design, a special place was occupied by carriage carriers, which were carried by special porters, following the example of ancient oriental prototypes. The author reveals that this tradition was initiated under the influence of interaction with the Indian Raj and other representatives of the Eastern establishment and developed among the high society circles of nobility in England, Spain, Italy, and France as a reflection on colonial ambitions in society. The scientific novelty of the study is related to the analysis of constructive, compositional and artistic features of gazebos and porte-chaises in the European tradition of horse-drawn transport of the seventeenth and eighteenth centuries on the example of monuments that have been preserved or recorded by artists. Conclusions. It has been proved that the production of baroque portable carriages such as porte-chaises and gazebos was carried out by individual specialists-woodcarvers. They knew how to combine metal and wooden structures of the product’s frame, as well as how to design the “salon-cabin” using different types of leather and drapery fabrics. The ways of external decoration of such objects with a representative heraldic coat of arms compositions, bouquets of flowers, and plot motifs are outlined. The article illustrates the varieties of porte-chaises, gazebos, sedan chairs, palanquins, and sigettes (sigetter, “vastasi di cinga”) typical of the seventeenth and eighteenth centuries in the works of European painters.

Localisation as Sociocultural Adaptation of Modern Design of Visual Communications

Natalya Udris-Borodavko — 2024-10-04

The aim of the article is to ground and formulate the definition of the term “localisation” in design using the example of visual communications. Results. A review of definitions and interpretations of localisation in different scientific and industrial spheres highlights that the term has different semantic meanings. In the sphere of visual communications, the concept appeared in web design, programming interfaces of programmes and games in the context of language, as well as technical, normative (State Standards) and legal parameters. Nowadays, the use of the term has expanded to the majority of graphic design, branding and marketing product. Its content is associated with sociocultural characteristics of the target groups. Interviews conducted with experts in the re-publishing and redesign of English-language books in the Ukrainian language, advertising communications, curatorship in mural placement and social poster display confirm the relevance of the content and design adчaptation to the specifics of target groups. Localisation in design is defined as a strategy in increasing the functional and communicative efficiency of the project through the adaptation of the content and design to the specifics of sociocultural, legislative, technological, geographical and historical conditions of its use within the country, region, etc. Scientific novelty. For the first time in the theory of design, the term “localisation” is grounded and introduced (using the example of visual communications); the specifics of using the concept of “local” in the context of consideration of these phenomena are clarified; the results of interviews of Ukrainian experts with experience in the localisation of visual communications are presented; the necessity in sociocultural adaptation of the content and design of visual communications to the requests of target groups is emphasised. Conclusions. In conditions of globalisation, the significance of localisation of visual communication projects is increasing. Its implementation requires immersion in the local culture and/or close contact with their representatives during the design process. However, the most effective localisation can be carried out directly by a representative of the target group as a carrier of its local culture.

Reception of War Trauma in Art: Measures of Permissible Cruelty of Reflection

Nataliia Borodina — 2024-10-04

The aim of the article is to study the reflection of percepting the war trauma in art in the context of the cruelty problem. Results. Ways of reception of the war topic issue in art are viewed, as well as conflict, struggle and manifestation are indicated. After conducting interviews and questionnaires, two paradigms are determined in grounding the war reception: 1) “two paradigms, possible solutions aimed at overcoming this conflict are determined. Scientific novelty. The ways of reception of the war trauma in art through reflection and adaptation are separated and analysed. Art is a safe refuge”, therefore, everything that can injure should be avoided, and during wartime, art should be exclusively entertaining (the leading directions are adaptation and allegorical escapist reflection without direct reference to traumatic topics), and 2) “Naturalistic art about war”, according to which art should be as serious and tragic as possible, faithfully convey the war horrors, avoid entertaining content (the ways of reception are naturalistic reflection and actions of art activism in manifestation options (murals) and struggle (actions of artistic resistance)). Conclusions. The conducted research shows that despite the fierce competition, the paradigms are not controversial but complementary in nature. They reflect different stages of reception and, accordingly, the aspirations of various social segments that go through these stages of trauma perception. If only one of these paradigms is defined as a generally accepted cultural policy, this can significantly discriminate some part of population: entertainment content traumatises those social segments that have undergone adaptation and are now actively working to overcome it. Therefore, they feel guilty for not being serious and sympathetic to suffering. Naturalistic art can traumatise those who suffered from the war, have not yet passed the stage of adaptation, have not yet received psychological help, do not know the means of stabilization, and seek to replenish their resource of positive emotions through art. As well as denying the entertainment component, avoiding cruelty in art is not a solution of the problem, because in times of war people are in different life situations, and turn to art with various purposes. The practice of warning about somewhat sensitive content is quite effective, helping art to find a proper audience and helping to overcome trauma.

Painting as Existential Experience: the Work of the Painter Rimvidas Jankauskas-Kampas

Rasute Žukienė — 2024-10-04

The aim of the article is to study the life and creative work of the famous Lithuanian artist Rimvidas Jankauskas-Kampas in the context of socio-cultural phenomena of the late 20th century. Results. Paintings of Rimvidas Jankauskas-Kampas (1957–1993) give an impression of intriguing, temperamental, obscure and enigmatic creative work. The artist lived for a short time, as his life ended unexpectedly when he was only thirty-five years old. The painter is strongly etched in the memory of his contemporaries, and his personality, as well as creative work are intertwined with things that may not even exist. Nowadays, a lot of people talk about Rimvidas Jankauskas-Kampas and his paintings. This bright personality achieves more and more colourful tones, and is vividly portrayed. Art historians are interested in his artistic legacy. The artistic work of this painter remains a subject of interest and discussion among artists and art critics. It is fought over at public auctions, and in the shadow of the art market. After graduating from the Vilnius Art Institute (now the Vilnius Academy of Arts), the young artist was thrust into a period of political change. The liberation of Lithuania from the Soviet Union meant new opportunities and creative freedom for him and other artists. Scientific novelty. This article is the first attempt to analyse in detail the oeuvre of Rimvidas Jankauskas-Kampas, as during the period of political changes, his paintings became a symbol of creative freedom. Conclusions. In fact, this outstanding artist brought many innovations to Lithuanian painting. The painter intuitively found a new concept of abstract painting in Lithuania. His main idea was to improvise freely on a very large canvas, and to paint nature alla prima. Free colour improvisations in his work only appeared after long sessions in painting plein air workshops. Rimvidas Jankauskas-Kampas stood out because he did not care about subtle colour nuances, or even for the whole expressive colourist school of Lithuanian painting. His abstractions are like a short and precise message spoken aloud.

Conceptualism of Sculpture Films of the 1970s–1980s in the Experimental Field of “Expanded Cinema”

Anhelina Anhelova — 2024-10-04

The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s–1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s–1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s–1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s–1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art.

Peculiarities of Organising Events under Martial Law Conditions

Kateryna Haidukevych — 2024-10-04

The aim of the article is to analyse the social purpose and to ground peculiarities of organising events under martial law conditions. Results. To achieve the goal of the scientific research, the comparative and systematic methods are used. They allowed to identify and substantiate the specifics of organising events in Ukraine after the Russian full-scale invasion, as well as to outline main directions of functioning and prospects for the development of events in the post-war time. The events are viewed as a symbolic capital of culture, its social marker, a universal means of realising the culture creating potential of the public, which stimulates the study of organisational features of events under martial law conditions. The article traces the relationship between social tendencies and event formats during the Russian aggression; specifies the problems that accompany the process of organising events since the beginning of the full-scale invasion; grounds their content and thematic direction; outlines the directions of functioning of events in the post-war time. Scientific novelty. It is proved that events held in Ukraine during the martial law go through a few stages of functioning: the stage of stagnation and re-profiling, which is inherent to event agencies in the first months of the war; the stage of a peculiar revival, which begins in the summer of 2022 and lasts until the end of 2023; the stage of adaptation and recovery, which begins in early 2024 and continues to nowadays. These periods differ in terms of event formats, target audience, and functional focus. Conclusions. It is proved that the specifics of event organisation under martial law conditions are relevant goals and objectives of a certain event; theming and structure of the event, innovative approaches to the format of the event and the way of its implementation. Such a vision is substantiated that in the post-war years the Ukrainian event industry will be characterised by a symbiosis of international, Ukrainian and local tendencies in the development of the event industry with an emphasis on the cultural ecosystem and public activity

Bulbul Memorial Museum as a Center of Cultural and Historical Memory

Fargana Jabbarova — 2024-10-04

The aim of the article is to study and introduce into scientific circulation information about the current activities of the Bulbul Memorial Museum regarding the preservation of the musical heritage of the founder of the professional vocal art of Azerbaijan. The material base of the study consists of the exposition of the Bulbul Memorial Museum and archival sources. Results. The article examines the history of creation and the current activities of the Bulbul Memorial Museum in Shusha after the occupation. The exposition of the museum is characterised, which presents Bulbul’s personal belongings, materials reflecting his creative, scientific, educational and social activities. The article provides a brief overview of the artist’s creative achievements, and also examines Bulbul’s documents and works. In particular, the article begins a discussion about such a peak of Bulbul’s work as the opera “Keroglu”. The activities of the Research Music Cabinet, which plays an indispensable role in the history of the musical culture of Azerbaijan, are highlighted. Information is provided on the unique exhibits known as phonograph records, which are well preserved at the Bulbul Memorial Museum. Scientific novelty. For the first time, the role of information technologies in the presentation of the Bulbul Memorial Museum is studied through the prism of preserving the musical heritage of the founder of professional vocal art of Azerbaijan. Conclusions. The Bulbul Memorial Museum in Shusha contains a powerful display of personal things and documents highlighting Bulbul’s musical legacy as the founder of professional vocal art in Azerbaijan. The use of information technologies for the presentation of the museum’s exposition meets modern requirements of museum activity. The use of a modern technological tool in the Bulbul house-museum — a monitor with a touch screen — is an important feature that arouses interest in the museum.

Cultural Practices as a Tool for the Tourist Destination Development

Olha Kopiievska — 2024-10-04

The aim of the article is to analyse the functional peculiarities of cultural practices under the conditions of transforming tourist destinations in Ukraine. Results. On the basis of the conducted analysis, it is proved that the preservation of the uniqueness and attractiveness of tourist destinations depend on effective management and strategic priorities. It allows preserving the integrity of the cultural and tourist space with qualitatively new and attractive cultural practices. It is revealed that the tourist destination formation is one of the main tasks in the system of cultural policy development of modern states. The study analyses the role of tourist destinations as custodians of cultural heritage at all levels, such as global, glocal and local. It is established that such destinations form a unique cultural space for the entire country. They act as cultural receptacles and centres of cultural life that attract both local residents and tourists from other countries. It is noted that the symbiosis of cultural and tourist practices allows to form a national image with its unique cultural potential. The scientific novelty of the study consists in the theoretical understanding and determining the practical role and significance of cultural practices in the process of transforming tourist destinations. Conclusions. Ukrainian reality and world practices testify to active cultural transformations of tourist destinations. As custodians of cultural heritage, tourist destinations form the cultural space of the entire country. They are a concentration of cultures, a centre of cultural life of the state’s citizens, and a centre of tourism for representatives of other countries. An important tool for the qualitative transformation of the tourist destination functionality are cultural practices that are able to provide emotional recovery, establish rational communication and dialogue between all participants in the cultural process. As a cultural practice, intercultural dialogue is the most important value in solving the global problems of nowadays. The formation and development of a cultural landscape with unique cultural practices are the most important factors for preserving and restoring tourist destinations together with their values, which depend on national identity.

Importance of Investigating Linguacultural Variability in Learning Foreign Languages

Elnara Putayeva — 2024-10-04

The aim of the article is to investigate and prove the importance of linguocultural variability in the study of foreign languages. Results. In general, the question “Does language determine culture or culture determins language?” is still definitive as a fundamental question of new studies and investigations. Results show that these and other similar questions, as well as forms of interaction of language and culture, have recently become serious in a wider context, and have been a subject of discussion. As we know, language and culture both give distribution to the process of communication, and this interconnection helps foreign language learners to declare pragmatic, semantic and syntactic meanings in order to cooperate. Scientific novelty. This article is the author’s contribution to the study of the interaction of language and culture as two interrelated social phenomena that develop under conditions of mutual influence. Conclusions. Anyone who prefers to intercommunicate with success through language and culture must be aware of the differences between various cultures. In this example, anyone who evolves such communication should consider sociolinguistic, discourse, grammatical and strategic skills. As a rule, certain concepts may be specific to one culture, and might not be found in other cultures. This case can be considered as one of the crucial reasons of investigating cultural variability of certain language, and this is primary to success in learning foreign languages. While borderlines between languages are very clearly observed and followed, cultural boundaries only originate as a consequence of speakers’ cultural “collision”. Observations give us a chance to make a conclusion that in most countries, multiculturalism exists as a form of equal coexistence of different cultures within the same country. As far as people are related to various cultures, their cultural values are quite different. One can consider that numbers of values exist simply because they “disagree” from each other.

The Problem of Subjectivity in Algorithmic Creativity Organisation

Tetiana Sovhyra — 2024-10-04

The aim of the article is to study the issue of determining subjectivity, authorship and uniqueness of the results of producing the creative process, organised by the use of algorithmic calculations. Results. The article clarifies the possibility of organising the artistic and creative process using mathematical calculations, and automating the reproduction of certain manipulations, additionally, it reveals signs of the uniqueness of the corresponding generation results, and grounds the degree of automating the cultural process. The scientific novelty of the article is revealed in the process of highlighting technical assets of modern art, which, although slowly, nevertheless quite demonstratively show the potential of algorithmic computing as a stimulator of creative innovations. Among the methods used in the process of analysing the issues which are raised in the article, first of all, the analytical method has to be singled out, that is based on both historical and philosophical processes, as well as modern cultural activity. Conclusions. It is revealed that algorithmic creativity is actually a kind of mechanised production process, organised in accordance with the features of machine training, and the identified signs of stylistic imitation of traditional practices. Two types of practices for organising the corresponding creative process are established according to the degree of interaction of artists with robotic systems: practices where robotic mechanisms become “subjects of creativity”, that is they are able to produce content for organizing artistic processes; practices involving the equal interaction of robotic mechanisms and artists (for instance, in theatrical performances). The cultural process automation leads to the decrease in the artist’s participation, and weakening of his authorship, but he still has an absolute advantage in the thinking orientation. Interpretation of meaningful content is a critical problem in relevant practices. The usage of algorithms in creating art products challenges traditional methods of artistic cultural creation, as the artist’s meaning and intentions are not always clear. Evaluating further prospects for the artistic culture development requires taking into account these aspects, and recognising potential consequences of forming algorithmic creativity for the further cultural development of humanity.

State Policy in the Tourism Field of Ukraine: Socio-Humanitarian Priorities of Development and Post-War Recovery

Olha Petroye — 2024-10-04

In the reviewed monograph “State policy in the tourism field of Ukraine: socio-humanitarian dimension”, the author Alla Havryliuk offers to use the marketing paradigm of promoting domestic tourism as a national ideology, as well as a tool of management and territory development. New directions of state policy implementation in conditions of decentralisation, focused on promoting key tourist identifiers of the locality are presented, such as types of tourism, image, brand, reputation, souvenir branding and intangible cultural heritage.